Issue 8 Artist Spotlight | Olga Nenazhivina
C+B: Tell us about yourself, Olga!
ON: Art is my work, and it’s also what I prefer to do in my free time. The ocean inspires me; it gives me strength and energy.
C+B: How do you define the word "art?"
ON: To me, art is a transformative force. It has the power to make people better, opening up new dimensions within them and revealing facets of their personality they might not have known were there. Art connects us to something deeper, inspiring self-discovery in ways few other things can.
C+B: Describe a time when you experienced a creative breakthrough, a change in process, or a realization about your work.
ON: When you start drawing at three years old and keep going without stopping, you have a significant momentum built over decades. A multitude of forms and ideas constantly buzz in your head; it’s like a big wave coming at you, and you’re always riding its crest.
Find and support Olga here:
IG: @olganenazhivina
Website: nenazhivina.com
(Unity, ©Olga Nenazhivina)
My ideal creative workspace: It’s an art studio built from solid wood on the shore of a warm ocean.
If I could have coffee with any creator (past or present) it would be: That would be two artists. My father, sculptor Valery Nenazhivin, and my sister Irina. My father taught me two main things: to be fearless and to work every day. My sister Irina was an exceptional painter and had a unique way of seeing color.
My creative legacy: Today, a woman bought my painting as a gift for a child’s first birthday. She said she wanted it to be the first piece in his art collection. By 2075, that person will be 52 years old. I imagine he’ll have a significant collection of art by then and will remember which painting started it all. This feels deeply human and meaningful.
Issue 8 Writer Spotlight | Saroj Kunnakkat
C+B: Tell us about yourself, Saroj!
SK: I am a neurologist who focuses on epilepsy and seizure management at Montefiore Medical Center. Aside from writing, I love creating visual art, cooking, and spending time with my husband and my toddler daughter (not in that order!).
C+B: How do you define the word "art?"
SK: Art is coaxing beauty out of the mundane, giving form to the shapeless, and wings to the earth-bound.
C+B: What is something you've learned as a creator, that you would want to pass on to younger creators?
SK: Writing can exist alongside other careers and can bring new perspective.
C+B: Describe a time when you experienced a creative breakthrough, a change in process, or a realization about your work.
SK: When I've had new ideas for pieces or thoughts, it's usually when I am otherwise focused on something else. Oftentimes this is in the car in bumper-to-bumper traffic and there is little else to do but ponder. Usually some idea or revelation pops into my head about a potential piece. When I get home, I end up heading straight to my computer when I get home to lay down those thoughts before they disappear.
Find and support Saroj here:
IG: @sarahjococonut
My ideal creative workspace: A room that doubles as both my office but also has a section set aside for quiet writing and art. Perhaps a couch in the corner for reading new books, an easel for paintings, and storage space for art and writing supplies.
If I could have coffee with any creator (past or present) it would be: There are so many choices but the one that comes to mind is Dr. Abraham Verghese. As someone who is a physician and whose family also traces its roots to Kerala, he represents what is good about writing as well as medicine. I would love to learn how he draws from medicine when he approaches writing and vice-versa.
My creative legacy: I would love my work to not only give readers an escape from their day-to-day activities, but also remind people that they are not alone as they go about their routines and wade through the difficult parts of their individual journeys.
Issue 8 Artist Spotlight | Ana Salazar
C+B: Tell us about yourself, Ana!
AS: I’m Ana, a Portuguese artist, mother, and partner building a life filled with creativity, family, and inspiration.
After over a decade in the UK, where I became a mother and discovered my love for art, I returned to Portugal to deepen my practice. My partner, Prash, and I met on an online dating site back in London—a fun beginning that turned into a beautiful journey together with our now five-year-old son, who keeps us grounded and always learning. Prash is an artist himself and has been my biggest supporter, encouraging me every step of the way to explore and express my creative side. I’m deeply grateful for the life we’re building together and the art we bring into each other’s worlds. My family and I share a love for music and enjoy escaping into the mountains, grounding ourselves in the landscapes that surround us.
My love for textile arts has roots in my childhood, watching my great-aunties and grandmother knit and crochet while I played nearby. Their intricate work stayed with me, and those memories resurfaced after I became a mother, sparking a deep creative pull toward textiles. It felt like reconnecting with a part of myself I hadn’t yet explored.
I draw inspiration from the landscapes surrounding my small hometown, where the mountains, rivers, and ever-changing scenery provide a constant source of creativity. Nature’s textures and rhythms shape my work, offering both grounding and freedom as I explore each piece with the fluidity it deserves. Beyond nature, it’s the quiet moments and genuine connections with people that leave a lasting impact—small interactions that remind me of the warmth and resilience we each carry. My art blends the organic beauty of nature with the intricacies of human experience.
Something most people don’t know about me is that I actually began studying civil engineering but left it in my third year. Its rigid structure just didn’t suit me; my creative process thrives on fluidity and organic growth.
Before fully dedicating myself to art, I worked in luxury retail and hospitality in London, with places like Harrods, Selfridges, and Apple, where I loved the team energy and connecting with clients. Now, alongside Prash, I’m lucky enough to create art that feels personal and impactful, exploring each piece with a fluidity that allows every design to unfold naturally.
Something that might surprise you is that until last month, I created all my art—both small and large—from my living room! It was a cozy setup, but now with my new studio space, I’m excited to have room to explore and expand my creative process even further.
C+B: How do you define the word "art?"
AS: To me, art is a tangible expression of emotion, thought, and experience—a language without words that connects people across time and culture. It serves as a vital outlet for my inner world, allowing me to explore and convey complex feelings. My art practice is mindful and essential for my mental health; it provides a space for reflection, grounding, and peace amidst the chaos of life.
Creating art is not just a process for me; it’s a meditative practice that helps center my thoughts and emotions. Through my work, I aim to communicate a sense of tranquility and serenity, inviting viewers to find their own moments of peace within the pieces. I believe that when we engage with art mindfully, it has the power to inspire connection and reflection, creating a shared space for understanding and healing.
Find and support Ana here:
IG: @anasalazar.atelier
Website: anasalazaratelier.com
(Kintsugi 002, textile, 50cm x 50cm, ©Ana Salazar)
My ideal creative workspace: My ideal workspace would be nestled a bit outside the center of my hometown, offering breathtaking views of the mountains that inspire my art. I envision a glass house with a 360-degree view of the stunning landscape, allowing me to immerse myself in nature while I create. This connection to the outdoors would help me slow down and find peace, which is essential for my creative process.
In the center, there would be a compartment to store my materials, doubling as a display wall where I could showcase and photograph my pieces. This setup would not only keep my workspace organized but also provide a visually appealing backdrop for my art.
Additionally, I’d love to have a calming lounge area where I can welcome friends and clients. A small kitchenette would be perfect for offering beverages and snacks, creating a warm and inviting atmosphere for visits. Surrounding the space, I’d install speakers for an immersive music listening experience, further enhancing the creative vibe of the studio.
This dream workspace would not only serve as a creative haven but also as a space for connection, collaboration, and inspiration—both for myself and those who visit.
Wow, this question got me dreaming!
If I could have coffee with any creator (past or present) it would be: Vanessa Barragão, a very talented Portuguese textile artist known for her vibrant and sustainable creations. As a fellow Portuguese artist, I find her journey particularly motivating, especially coming from a small country where establishing oneself in the art world can sometimes be challenging. Her success serves as a beacon of hope and encouragement for emerging artists like myself, reminding us that it is possible to carve out a meaningful space in the industry.
Vanessa’s commitment to environmental sustainability resonates deeply with me. She utilizes waste materials and discarded textiles in her work, creating stunning pieces that not only showcase her artistic talent but also raise awareness about the environmental impact of the fashion and textile industries. Her message about the importance of sustainability in art aligns with my own values, encouraging me to be mindful of my materials and the resources I use.
Seeing her beautiful art and hearing her story inspires me to persist in my creative journey while embracing the responsibility we have as artists to advocate for a more sustainable future.
My creative legacy: I hope my work is remembered for its ability to evoke a sense of peace and connection. I aspire for my art to serve as a sanctuary for viewers, offering them moments of reflection and grounding in an increasingly fast-paced world. I want my pieces to be seen not just as decorative objects but as invitations to slow down, engage with nature, and connect with our shared human experience.
Additionally, I hope my commitment to sustainability and the use of organic materials will inspire future generations of artists to embrace eco-friendly practices in their work. I envision my art contributing to a larger conversation about our relationship with the environment, encouraging mindfulness and appreciation for the beauty that surrounds us.
Ultimately, I want my art to be recognized as a bridge between past and present—a celebration of personal and collective memories that resonate across time. I hope that through my creations, viewers will feel empowered to explore their own stories and experiences, fostering a sense of community and understanding that transcends cultural boundaries.
Issue 8 Artist Spotlight | Renée Ferro
C+B: Tell us about yourself, Renée!
RF: I work full time as a brand designer. I spend almost all my free time at the pottery studio. One of my favorite things to do lately is go see an old movie without reading a synopsis/watching the trailer beforehand.
C+B: How do you define the word "art?"
RF: Anything that a human produces that is motivated by joy and curiosity.
C+B: Describe how you work through a creative block, or period where it's difficult for you to produce work.
RF: I shift my energy to practicing the mechanics of my craft. I will throw and throw and throw on the wheel with zero intention of getting an end result. When I do have inspiration it’s easier to produce because I’ve been practicing the technical part of ceramics.
C+B: Describe a time when you experienced a creative breakthrough, a change in process, or a realization about your work.
RF: I wanted to be in illustrator for the past seven years or so, but I found practicing that art daunting and exhausting. I didn’t make any work for close to a year. I decided to take a wheel throwing class on a whim and fell in love. I love practicing the art of ceramics and I had a realization of ohhhhh this is what it feels like to truly love to do something. I was just in love with the idea of becoming an illustrator, not the process. Loving the process is key.
Find and support Renée here:
IG: @renee__ferro
(Aftermath, ceramic, ©Renée Ferro)
My ideal creative workspace: Organized chaos with a view.
If I could have coffee with any creator (past or present) it would be: I don’t really have any idols, but I do have coffee chats with a lot of my artist friends in the studio. They’ve taught me everything I know. Shout out to the Bitter Root Pottery gang AKA the basement rats.
My creative legacy: Bringing some curiosity to an ancient and traditional art form. I want people to look at my work and think “how did they do that?”. Maybe that question will lead them trying ceramics themselves.
Issue 8 Writer Spotlight | Divya Benezette
C+B: Tell us about yourself, Divya!
DB: Currently, I am a full-time graduate student at Towson University studying professional writing with a creative writing track. This past May, I completed my Bachelor's degree in English, also at Towson University. In my spare time, unsurprisingly I love to read and write. I read from a plethora of genres but my favorites are memoirs, fantasy, and literary fiction. When it comes to writing I, of course, love poetry but I also find so much joy in literary analysis and creative non-fiction. I also love to spend time outside and am so blessed to live in a wooded area where I see so many deer, foxes, raccoons, bunnies, birds etc. every day. Growing up around wildlife and having cats since I was four has definitely played a part in me becoming a creative, and my love for animals/nature shows in my poetry quite often. I also love fashion and often find that dressing up can be a form of empowerment. When I choose to dress up in hyperfeminine aesthetics and/or my ethnic wear in academic spaces I acknowledge that others might perceive me as lesser, but also that it is none of my business what people think of me. What matters is that I am dressing up in the way I dreamed of when I was a little girl all while accomplishing her dreams of being a writer, and I am doing it with excellence. The little girl in me would also be happy to know I am still a huge swiftie -after all, she is who inspired me to start writing in the first place. In regards to my ethnic wear - in the past year, I've made the decision to stop saving my Indian clothes for church or special occasions and to wear them to class, to go shopping, to see my friends, really anywhere and I am beyond happy that I did. I feel the most beautiful them and they make me feel like myself more than anything, so I have stop worrying about whether or not that makes people around me uncomfortable. It's more than just pretty outfits to me, it's my culture and it took me a long time to be okay with celebrating that even in small ways. Prior to submitting my poem "Fungus Gnats" to Bardics Anonymous, I had changed one line talking about my dream outfit to say "blush lehenga" instead of "blush ballgown" and it means so much to me that I chose my true voice over something palatable, even if it's just one line, in what became my first publication.
C+B: How do you define the word "art?"
DB: To me, art is any form of creative expression. It also must come from a place of passion, love, and good intentions. That's mostly all there is to it, art can be created by anyone of any background the only difference is opportunities and recognition.
C+B: Describe a time when you experienced a creative breakthrough, a change in process, or a realization about your work.
DB: I noticed a huge change in my creative process recently as I have gone back and revised poems I wrote in high school as a graduate student. I write much better than I did when I was younger because I have become much more well-read and improving as an academic has helped me sharpen my creative skills, too. I write like myself now, too, instead of catering to an audience and it has paid off. I find myself writing with a huge sense of joy that I didn't always have when I was younger that has come with immersing myself in my faith, my work, my hobbies, and surrounding myself with better friends. The difference between my original pieces and my revisions is astonishing.
Find and support Divya here:
IG: @whatsdivyareading
Website: chillsubs.com/users/divyabenezette
Divya Benezette
My ideal creative workspace: My mind immediately goes to forests and gardens. One space in particular is the Lalbagh Gardens in Bangalore - my family and I visited on our last, nearly annual trip to India in 2019 and it was one of the most memorable experiences for me in all our years of visiting. I've since learned there's a weekly book club hosted there and it seems like a great space to write in peace for a little while.
If I could have coffee with any creator (past or present) it would be: I would have tea, but I absolutely want to have a little cafe date with Taylor Swift. I have been a huge fan since I was a kid and it would be so fun just to chat over warm drinks and I would love to ask her about her creative process. The few poems she has published are absolutely incredible and, to me, so many of her songs are just poetry put to music.
My creative legacy: I hope my work is remembered for its feminism and roots in nature. I hope that people feel captivated by a catalog of work that is both demanding and gentle, a reminder that the hyperfeminine is a symbol of intelligence and strength rather than naivety. And I hope that my work will have encouraged people to be kind to the earth and its animals.
Issue 8 Artist Spotlight | Donald Medley
C+B: Tell us about yourself, Donald!
DM: I am a BFA Studio Art candidate at Converse University. I enjoy photography on my spare time, and I find myself to be inspired by music. Music allows my mind to be more imaginative. It allows me to experience visual narratives that feed into my art. Which is funny because I have a twin brother who produces music.
C+B: How do you define the word "art?"
DM: I define art as expression, creation or performance that can be for an audience or one's own viewing.
C+B: Describe how you work through a creative block, or period where it's difficult for you to produce work.
DM: Creative block for me is a form of perfectionism. Often times I fear making something that isn't good or amazing, and wait for "inspiration" to come to me. I work through this by intentionally making something bad. I release expectation for good and aim for carelessness or a lack.
C+B: Describe a time when you experienced a creative breakthrough, a change in process, or a realization about your work.
DM: My sophomore year, I created lots of portraiture work. Through this I neglecting my backgrounds and realized that I wasn't really fond of super realistic representation. I took a printmaking course the next semester. Here I was able to work with materials that I wasn't familiar with. This stretched my comfort zone and allowed my work to have much more exciting backgrounds as well as more abstract figural representation.
Find and support Rachel here:
IG: @byrachelsotak_
Website: byrachelsotak.com
(Self Wanderer,15in x 22in, multimedia, ©Donald Medley)
My ideal creative workspace: My ideal creative space is a garage type space with a nice view or some kind of nice outside with a storage, table, and a desk.
If I could have coffee with any creator (past or present) it would be: I would sit down with Kehinde Wiley. He is a big inspiration for my creative work. I would want him to critique my artwork and give me his thoughts.
My creative legacy: I hope that people can be inspired by what I do. That the people behind me can understand that they can create and do great things. I also want people to be able to relate and feel heard through my work.
Issue 8 Artist Spotlight | Jena Thomas
C+B: Tell us about yourself, Jena!
JT: I am a Painting and Drawing Professor. I love to travel and hike, that is when I collect most of my images for my work.
C+B: How do you define the word "art?"
JT: I try not to...
C+B: Describe how you work through a creative block, or period where it's difficult for you to produce work.
JT: I just keep showing up. It also helps me to have multiple things going at once, paintings, drawings collages, so I can move around depending on my mood. Most importantly, I keep showing up, there is always something in the studio to be done.
C+B: Describe a time when you experienced a creative breakthrough, a change in process, or a realization about your work.
JT: This seems to happen when I have completed working on a body of work. I try not to filter my direction too much, rather just sit back at the end and look at whats been done. When I moved back to Florida (I am currently in South Carolina) I had a moment of realization when I looked around at the artificial landscape and I just found it to be so bizarre. It took moving away and coming back with fresh eyes to see how strange it was to me. This has fuled my body of work for many years now.
Find and support Jena here:
IG: @jenathomasart
Website: jenathomasart.com
(Beautifully Dirty, ©Jena Thomas)
My ideal creative workspace: I am not too picky...No windows so I can control the light and a lot of good ventilation. A big door for moving stuff in and out is great too.
If I could have coffee with any creator (past or present) it would be: There are so many! I had a wonderful professor in grad school, Walter Darby Bannard, he passed away several years ago, I feel like I have store of questions I would like to ask. He seemed to bestow wisdom so easily and willingly.
In 2075 I hope my work is remembered for: Strange but familiar landscapes with interesting color and varied surface textures.
Issue 7 Artist Spotlight | Rachel Sotak
C+B: Tell us about yourself, Rachel!
RS: I'm an illustrator, muralist and graphic designer based in Concord, NH. I have worked as a solopreneur designer for 5+ years, but I've always thought of myself as an artist. I'm often know for whimsical and playful work, always using unique textures, layering, and vibrant color palettes.
I enjoy using both analog and digital mediums, but I'm always looking for an excuse to not stare at a screen, so I often sketch from coffee shops and park benches. I even took my sketchbook up to Cadillac Mountain for sunrise at Acadia National Park!
C+B: How do you define the word "art?"
RS: To me, art = expression. In high school I did a presentation on creativity, showcasing how different artists throughout time (DaVinci, Mary Cassatt and Jackson Pollock) found their own means to harness it. My hope was to remind people that creativity is uniquely yours, just like your fingerprint. By sharing your work, it opens up possibilities for connection and emotional growth.
C+B: What is something you've learned as a creator, that you would want to pass on to younger creators?
RS: Start a sketchbook and keep it even after it's full. This is a great way to see your progress as an artist over time, and to also find new inspiration when you're feeling blocked.
C+B: Describe a time when you experienced a creative breakthrough, a change in process, or a realization about your work.
RS: In college, I took an art class just about color - color relationships, color symbolism, and how to pair colors together in unexpected ways. This opened my mind to how I personally see color and use it to express emotions.
Find and support Rachel here:
IG: @byrachelsotak_
Website: byrachelsotak.com
(Pigtails, 5in x 7in, digital illustration, ©Kristine Narvida)
My ideal creative workspace: I love big spaces with lots of sunlight. While I love the idea of being in nature and with a beautiful view, I often fill my cup by connecting with people and people watching (ha).
If I could have coffee with any creator (past or present) it would be: In the design world, I would love to meet with Paula Scher. Her impact on the design world has been transformative to the industry. I'd love to just pick her brain!
I'd also love to meet Monet - I love how he used color, and would love to work along side him.
My creative legacy: I recently took the first steps to create a creative space full of classes and workshops. While it's currently on hold, I hope to make it happen one day. I want to make art approachable with a community of people who inspire and encourage one another.
Issue 7 Artist Spotlight | Lydia Kinney
C+B: Tell us about yourself, Lydia!
LK: I'm a recent full-time artist after several years in manufacturing-- and really enjoying it! In my now more substantive studio time, I've returned to regularly reading through audiobooks, and I'm finding a lot of inspiration in fiction works like Severance, When We Cease To Understand the World, Breasts and Eggs, and My Year of Rest and Relaxation, or nonfiction work like In The Dream House, Except for Palestine, and Debt. Maybe not the most uplifting reading lists, but it's certainly given me a lot to chew on!
C+B: What is something you've learned as a creator, that you would want to pass on to younger creators?
LK: So many creators say this, because it's very important: keep making. Keep making to stay in the habit of working, to stay in dialogue with the work, to improve for one's own standards. Keep making in the wake of rejection. Keep making in the wake of an accomplishment. Keep making to preserve the drive to make the work. Keep making as long as it makes sense to keep making.
C+B: Imagine it's 2075. What do you hope your work is remembered and recognized for?
LK: So much of my artwork is about radical imagination---in part because I struggle to imagine 2075 full stop. I've put my studio practice where I may have otherwise committed to a conventional family, a conventional job, a house, a deliberately apolitical outlook. As such it seems likely to me that looking back on this work in 2075, it will look like a resigned liberation of creative capacity. I hope to be caught in a post-zombie-formalism wind: that the work will retain some reflection of possibility. If nothing else, I hope not to be a huge pain to future conservators.
Find and support Lydia here:
IG: @l.m.kinney
Website: lydiamkiney.com
Lydia Kinney
(Yellow, 30in x 24in, acrylic on canvas, ©Lydia Kinney)
My ideal creative workspace: My current studio, which I've been in since 2018, is a true gem, and with some mindfulness is spacious, reasonably lit, quiet, and very much mind. I need the space to be a true goblin for hours at a time and this space affords it. Ideally, over time, I would find ways to make studio visits / dialog a bigger aspect of my creative environment.
If I could have coffee with any creator (past or present): It might be Prince! I recently watched a live version of It's Gonna Be a Beautiful Night and I'm still stunned by the orchestration it takes to perform at that scale. Being able to hold that many intersecting concepts of song, dance, theatrics, crowd work, and collaboration is mind-blowing to me. It would take me years to make a painting as complex as Prince (and a dozen other performers, crew, etc) accomplishes in so little time, with such unflinching conviction.
Of course I'd want a peek behind the curtain. There's a mystique added to Prince as a creative, in part because he was so innovative, and it takes away from his work as an excellent collaborator.
Issue 7 Artist Spotlight | Gabriella Giaconia
C+B: Tell us about yourself, Gabriella!
GG: I am an art teacher at a public school in New York City. In my spare time, I love to check out galleries and exhibits around the city, go to the beach, try different Italian restaurants around the city with my friends, and take figure drawing classes. Being by the ocean inspires me. It is where I feel the most clear minded.
C+B: Describe how you work through a creative block, or period where it's difficult for you to produce work.
GG: Morning pages have been life changing for me. Since I started doing them a few years ago, ideas and dreams that have been brewing for so long have come to fruition. So being consistent with those always helps me though a creative block. And I always feel clearer after spending time at the beach by myself.
C+B: Describe a time when you experienced a creative breakthrough, a change in process, or a realization about your work.
GG: I remember I was looking through an artists Instagram account that I found through a gallery she had work in. I saw she was also an art teacher around my same age and was actively showing her work at group shows in galleries and I became so inspired. During that time that I found her profile I felt as if something was missing from my life, like teaching was not my sole purpose, and I had recently started creating my own work again. So I really believe this was divine timing. It really motivated me to start putting my work out into the world.
C+B: How do you define the word "art?"
GG: I've recently been seeing a quote floating around my Instagram by actress Helena Bonham Carter that reads: "I think everything in life is art. What you do. How you dress. The way you love someone, and how you talk. Your smile and your personality. What you believe in, and all your dreams. The way you drink your tea. How you decorate your home. Or party. Your grocery list. The food you make. How your writing looks. And the way you feel. Life is art." I think this sums up art perfectly- it is for everyone, all the time. Art is everything, not just old paintings hanging in museums, and I think the more people can adopt this concept the better!
Find and support Gabriella here:
IG: @gabriellagiaconiastudio
Website: gabriellagiaconiastudio.com
(Last Ones on the Beach, 24in x 36in, mixed media, ©Gabriella Giaconia)
My ideal creative retreat workspace: I imagine a very light and airy studio with windows that look out over the ocean, with a lot of open space. Lots of plants, disco balls, salt lamps, and art books. It would be the perfect mix of cozy, inspiring and calming. It ideally would be in Sicily!
If I could have coffee with any creator (past or present) it would be: The first person that came to my mind is Leah Kirsch. She's such an inspiration for me creatively and as a business woman. I've followed her for awhile and it just seems like she trusts herself and her ideas and the process so much that it just unfolds organically. I really admire what she's built so I'd love to pick her brain about creative entrepreneurship, showing up on social media and her creative journey in general.
Something I’ve learned as a creator that I want to pass on to younger creators: Just start the project or whatever your dream or idea is and share your work because it will eventually reach the right people. I have spent a lot of time planning and ruminating over ideas and projects but really the most helpful thing is just doing it and figuring things out as you go through trial and error.
My creative legacy: To have lived a creative life, not just had a creative career.
Issue 7 Artist Spotlight | Sarah J. Schwartz
C+B: Tell us about yourself, Sarah!
SJS: By day, I'm a product designer at Apple, which I love balancing with my art practice. I think that my worlds between design and art often influence each other and inform how I approach the practices. Something that often inspires me is being around other creative people and seeing them doing what they love. I also want my art to inspire others to jump in and get creative in their own way.
C+B: Describe how you work through a creative block, or period where it's difficult for you to produce work.
SJS: I think of my practice as having different parts and components to it. When I'm truly blocked, I am either cleaning up my studio space, stretching new canvases, or even painting base layers over old paintings that no longer resonate with me. And sometimes I need to simply get out of the studio, so I’ll go to a local thrift store and collect some second hand frames.
C+B: Describe a time when you experienced a creative breakthrough, a change in process, or a realization about your work.
SJS: I had a breakthrough a couple years ago, where I noticed how much I loved using non-traditional supports and found objects to create my work. I enjoy using items that speak back to me as I work. Sometimes the ‘message’ comes to me as I’m working through a piece that started off with thrifted material and I’ve learned that it’s okay to ‘not know what I’m doing’ because I’m simply enjoying the process of creating itself.
C+B: Describe a negative experience you have had (relating to your work). How did you move forward?
SJS: There was one week about a year ago where I kept comparing myself to other artists on instagram. I was comparing my style to theirs, the likes, the followers, everything. I had to remind myself that everyone is on their own track and timeline. Some days it's super easy to internalize that message, and other days, it feels like I'm back in that really tough week all over again.
C+B: Imagine it's 2075. What do you hope your work is remembered and recognized for?
SJS: That I enjoyed and learned from the journey along the way. I think my mental health has always been something I have to learn to cope with and art has been this incredible outlet for me to understand myself better, and work through some darker moments. I want people to look at my art and see that it was a way for me to process what it has meant to me to be human.
Find and support Sarah here:
IG: @sarahjaclynschwartz
Website: sarahjschwartz.com
(License to Live, 36in x 36in, mixed media, ©Sarah J. Schwartz)
My ideal creative workspace: I dream about having a space that’s open, airy, and filled with natural daylight. It would be incredible if I didn’t have to worry if I got the floors, ceiling, or walls messy.
If I could have coffee with any creator (past or present) it would be: Robert Rauschenberg. I have always been inspired by his work ever since I learned of him in my high school art history class. I'd want to learn about what continued to inspire him and how that changed over time, where he sourced his materials, and what gave him the courage to keep creating even when he may have doubted himself.
Something I’ve learned as a creator that I’d like to pass on to younger creators: Remember that it's about having fun. If something starts to no longer feel fun, take a break, put down the materials, and come back to it later.
Sarah J. Schwartz
Issue 7 Writer Spotlight | LeeAnn Love
C+B: Tell us about yourself, LeeAnn!
LL: In addition to furthering my writing and fine art career, I am a long time trained art and expressive therapist and newly beginning somatic coaching practitioner in training.
I LOVE to be outside as much as humanly possible: writing, painting, hiking, kayaking, tending fires, hugging trees, and talking to the moon.
I absolutely love to dance. EVERY. SINGLE. DAY.
Three things I bet most people do not know about me: I am a newbie banjolele player.
I won my first writing contest when I was in 7th grade.
I started out in college as a math major. I made it to my third calculus class, and I was bored out of my creative mind. Needless to say, the year after I quit math, I studied art abroad in Italy for a summer term.
C+B: How do you define the word "art?"
LL: The word "art" to me is very broad -- in my mind, it is honestly any creative act. I believe all people are inherently creative, although many do not believe this. Art can be through cooking, designing your home, what you wear, a computer program you created, or a stone cairn you created in the water when playing by the sea.
C+B: Describe a time when you experienced a creative breakthrough, a change in process, or a realization about your work.
LL: Last summer, I took a radical leap, paused my art therapy business and headed to Scotland, the land of my ancestors, for a four-month sabbatical. As I landed, with very few plans established, other than where I was staying, so many creative opportunities came my way. I wrote every single day, and my two poems in Clover + Bee came from this season of writing. I also found local artists who walked in nature and created plein air art in community. I joined an artist group at the local hub in town, and I made playful work inspired by other artists and their work. If found the deep importance for me of working creatively in community, and then heading back into the studio to create my own body of work. I had forgotten my need for this; as an expressive therapist, I had gotten so focused on other's creative processes rather than my own. The both/and of communal and solitary creative process is the perfect balance for my creative practice, both in writing and artmaking.
C+B: Describe how you work through a creative block, or period where it's difficult for you to produce work.
LL: In expressive therapy graduate school, my professor spoke about the intermodal shift: changing materials, media, or modalities of creativity to explore concepts more deeply. I have found in my own work that when I am stuck, if I create a haiku poem, or start with a list of words, try a differing artist medium, dance what I am trying to create, or even just hop on my banjolele, things will often get flowing again. In the creative process, there are also just times of ebb and flow. In those times, if I can travel, play in the woods or the sea, read poetry, go to art exhibitions, explore a new art supply shop, watch a film, or attend a creative event, these experiences can bring inspiration when my work is in ebbing phases.
C+B: What’s your creative legacy?
LL: As a childless woman, a woman who wanted children but was unable to have them, legacy is a tender topic. I have thought of this a lot in recent years, and I realize what a profound legacy I have, even without children. As an art therapist, I have supported children and families of many races, cultures, gender and sexual identities, socioeconomic classes, physical and mental abilities over the years. I have worked with hundreds of those in recovery from mental health and substance abuse issues helping them find joy and healing in the art process. I have taught art skills to children, teens, adults, since I was a teenager. I taught college students about arts and healing, expanding ideas beyond cultural beliefs. I continue to supervise upcoming art therapists, supporting them in their practices of holding compassionate and creative spaces with those who are suffering. I have completed many murals, paintings, exhibitions, writings, and have a book in progress.
And even with all the people I have impacted and accomplishments I have met, I am most proud of my legacy that is seen in my beloved nieces and nephews. While they are all are dearly loved, currently, a few of them embody part of my creative legacy. I had never really considered how much my creativity had impacted my nieces and nephews, until after the passing of my nephew, Adam. His friends told me that he believed he "got his artsy side from me." My niece, Lauren, is a force of nature as an artist, moving and shaking the intersection of social action with Presbyterian theology. She inspires and humbles me daily. My other niece, Lindsay, who mistakenly calls herself the "noncreative one" is providing all kinds of creative opportunities for her son Pax, who is a natural artist and singer. She is truly passing on my families' creativity and my creative legacy to the next generation.
LeeAnn Love
My ideal creative workspace: I love to write in a fully sunlit room, with floor to ceiling windows. With colorful pens, journals of recent years, and a keyboard, as I am in the generation which bridged analog and digital writing. I enjoy lots of cozy pillows, blankets, a sturdy table and desk, and a cuppa hot herbal tea.
Something I’ve learned as a creator that I would want to pass on to younger creators: Trust your creativity. The Western world will continue to tell you not to create. It isn't wise. You can't survive financially. You aren't talented enough. It is frivolous. The more I fought my own creativity (e.g. started out as a college math major), the more creativity sought me and will seek you. It is in your bones and in all of our ancestral stories. Creativity is the epitome of the human experience. It is your medicine and healing for you and for the world. Once you no longer resist yourself, embracing the creative path is the most terrifying, exhilarating, life giving way to live.
If I could have coffee with any creator (past or present) it would be: Mary Oliver, Beth Kempton, Glennon Doyle. Each of these women embody some part of the writing process that I greatly admire and inspires me. Mary Oliver has such a rich way of bringing nature and simplicity to the greatest depths, down to the bones. Beth Kempton is so authentic, honest, inspiring, and truly present in her human experience. Glennon Doyle is a firecracker of a soul, moving and shaking in her work, in advocacy, and in truth telling.
Find and support LeeAnn here:
IG: @leeannlovestudio
Website: leeannlove.com
Issue 7 Artist Spotlight | Deborah Scott
C+B: Tell us about yourself, Deborah!
DS: I'm invested full-time to my art, complemented by one day a week working with students in a painting and drawing atelier. While I enjoy the solitude of my studio, I also welcome the connections and vibrant creative energy of my students. Additionally, as a figurative painter, I find endless inspiration in the narratives and experiences of those around me.
Some are surprised to learn that I came to art late. I left a successful career managing multinational businesses and brands like Cheerios and Amazon to pursue my passion for art. The first time I ever purchased a sketchbook, let alone art supplies, was in mid-life. Learning classical drawing and painting skills was an arduous and humbling challenge that served me well. I wouldn’t trade it for anything. My art would not be what it is today without everything that came before it in my life.
C+B: Describe a time when you experienced a creative breakthrough, a change in process, or a realization about your work.
DS: In my work, chaos and disruption have always played a significant role, mirroring my perception of life as inherently messy and unpredictable. Life throws curveballs beyond our control, and it boils down to how we handle them. After a hiatus from painting, a necessary pause to support my family, I initially aimed to eliminate tears, rips, and distress from my art, thinking it would signify a mature move forward. However, I quickly realized the opposite was true. Stripping away chaos and uncontrolled elements rendered my work dull and disconnected from my reality. I thrive on problem-solving and navigating my way through a mess, much like life itself. Pursuing realism solely for the sake of realism seemed like a futile endeavor. After all, what goes onto the canvas is just paint, a new slice of reality. This perspective resonates with the increasing shortness of our attention spans and the rapid expansion of AI into new territories, creating a muddle between artificial constructs and reality. In my art and in the world of technology, the attempt to mirror reality too closely throws doubt on authenticity. Embracing the unpredictable allows for a more genuine representation of the complexities that make life and art truly interesting.
C+B: Describe how you work through a creative block, or period where it's difficult for you to produce work.
DS: Fortunately, I haven't encountered creative block. Instead, my challenge lies in grappling with the finite nature of time. There will never be enough days in my life to create all the paintings I want to create. My art emerges from me with a force or involuntary urgency. At the risk of being crude, it feels a bit like vomiting. My artistic ideas are a visceral expression, propelled by an inner force, akin to a reflex. It is with temperance that I can paint these ideas to my liking.
I'm profoundly grateful for the ability to translate my thoughts into tangible art. It's a privilege I never wish to take for granted. My classical painting skills allow me to give form to my ideas, transforming them into visual expressions. This ability to express myself creatively is a luxury—one I acknowledge with deep appreciation and gratitude.
C+B: Imagine it's 2075. What do you hope your work is remembered and recognized for?
DS: Embracing the present moment has become my mantra, more so than ever after the recent loss of the love of my life. I live every day knowing that life is short and fleeting, a profound realization gifted by grief. As an artist, my focus remains on creation and sharing. I have no illusions of control over reception, influence, or remembrance. Being an artist means crafting something deeply personal, trusting it may resonate universally, eliciting a response. Focusing on how my work will ultimately be perceived and remembered would be an unfortunate distracting effort - detrimental to my life and my work.
Find and support Deborah here:
IG: @deborahscottart
Website: deborahscottart.com
(Consumption of Innocence, 60in x 36in, oil and mixed media on canvas,
©Deborah Scott)
My ideal creative workspace: My week revolves around 3-5 days spent immersed in the studio. When I'm in work mode, I deliberately eliminate distractions – no texting, no calls, no social media, etc. Some artists have beautifully appointed studios, with comfortable furniture, beautiful northern light, freshly cut flowers and a beloved pet curled up in the corner. My studio is the opposite. It mirrors my intentional minimalism; the sole focus is the canvas on my easel. My workflow involves intense 20-minute work blocks followed by brief breaks. Stepping out of the studio, attending to messages, grabbing a snack, and scheduling time with family and friends rejuvenates me. I've identified my optimal focus span at 15-20 minutes; surpassing that threshold leads to fussiness and overworking. This approach aligns seamlessly with my personality. It's a delicate dance between complete immersion and stepping back for a broader perspective, perfectly attuned to my style.
Something I’ve learned as a creator that I would pass on to others: Work hard. Trust yourself. You are not for everyone, and your work will not be for everyone. But it will speak meaningfully to some.
If I could share a coffee with any creator, past or present: I don’t think I could select just one. My choices would span different artistic realms: Kurt Cobain, Janis Joplin, Baz Luhrmann, or Vincent van Gogh. Despite their diverse fields, they share a profound commitment to self-expression and authenticity, laying bare their innermost thoughts and emotions through their respective art forms. Engaging in dialogue with these influential creatives would offer invaluable insights into their creative processes and the challenges they faced.
Whether delving into Cobain's introspective lyrics, Joplin's soulful performances, Luhrmann's visually stunning films, or van Gogh's emotionally charged paintings, each artist's work speaks volumes about their dedication to their craft. A coffee conversation would undoubtedly uncover the motivations behind their art, the struggles they encountered, and the transformative power of their creative endeavors.
A negative experience and how I moved past it: I jumped right into the deep end by attending a full-time contemporary painting and drawing atelier with essentially no art background, which was atypical of the program's students. The initial feedback on my first project was brutally honest, with the instructor expressing that my presence in the program was precarious. Rather than feeling hurt by the criticism, I accepted it as a harsh but accurate assessment. I used it to fuel my determination.
In response, I created an improvement plan for myself on top of my regular instruction. During a month-long winter break when the other students were away rejuvenating, I dedicated myself to full-day sessions, working with unwavering intensity and initiating a new drawing every 20 minutes.
The negative comment served as a catalyst, motivating me to challenge my limits and measure my progress within a condensed timeframe. By the time my peers returned from the break, I felt I had not only caught up but had also gained the confidence to move forward with renewed assurance in my artistic journey
Issue 6 Artist Spotlight | Kristine Narvida
C+B: Tell us about yourself, Kristine!
KN: I am a mother of four children. My everyday life has a cyclical subordinate rhythm, in which domestic concerns alternate with my professionalism. Handing a glass of water to my daughter, I can record how gently the daylight surrounds the figure and in a certain frame allows me to see a composition in the oil painting material. Nature, the surrounding can be a great source of inspiration. I mostly do everything myself, that's the way I work. My painting is very physically present, it belongs to a person. Illusions are always destroyed in the process of work. They accumulate and press on self-esteem, where self-expression becomes a fundamental source of inspiration. It is not necessary in personal life, because it is possible to enjoy what life "throws" at you.
C+B: How has your relationship with your work changed since you first started creating?
KN: My relationship with work has not changed significantly as my professionalism and technical skills have grown. Sometimes I get the feeling that the created work lives its own life, independent of me, and I let it happen without tormenting the created image. Respect for the material and trust in it is what allows me to express myself, to speak about what I want to say.
C+B: What has your experience been like receiving feedback or criticism of your work?
KN: I take into account who the speaker is, how important that person is to me. The words of people dear to me can empower me, direct my discoveries, raise questions. Usually I find inspiration in the answers to those questions.
C+B: Which creator (present day or in the past) do you most admire and why? What draws you to their work?
KN: I grew up in the traditions of the Latvian gray school of painting, and I am happy to continue it. Such Latvian artists as Vilhelms Purvītis, Imants Vecozols, Boriss Bērziņš are my teachers, authors, whose technical skills and understanding have shaped my language of expression.
Find and support Kristine here:
IG: @narvida_art
Website: narvida.com
(The Study of Annoyance 5, 30cm x 40cm, oil on linen, ©Kristine Narvida)
My ideal creative retreat would be: Being alone at the Baltic Sea in winter.
One word that describes my most recent work is: Remembering
A quote that inspires me is: There is no such single quote. Genius appeals to me, which is so natural, as if there were no other options. I am drawn to the agility, directness and precision of thought that can be found in the work of many authors, both today and in the past.
My hope for those viewing my work: I hope that my work is a key to the personal space of the observer, it is the place where he meets himself. Self-discovery is what I see from the viewer.
Issue 6 Writer Spotlight | Dylan James
C+B: Tell us about yourself, Dylan!
DJ: I work full-time at one of the largest dog shelters in the Midwestern United States. I love my job, and I love meeting so many unique, incredible four-legged friends—marketing them and finding them forever homes all the while. When not working with the pups, you can find me writing or reading or hanging out with my dog, Bo. Writing and reading and animals make me the happiest. I'm endlessly grateful for my career and for my second career: writing.
C+B: How has your relationship with your work changed since you first started creating?
DJ: When I was younger, I fell into the pitfall of overthinking a lot when creating. Now creating is meditative to me, unconscious even. I enter a flow state and just write. I can't tell you how much success I've found in doing this, and how personally rewarding this process has been. Writing is a peaceful happening in my life. It's something I look forward to every day.
C+B: What has your experience been like receiving feedback or criticism of your work?
DJ: I openly welcome feedback and criticism. I think doing so is the only path that an individual can take to self-improve, or to certainly reach new heights in the world of writing and publishing. I want to hear everything and use this insight—ponder it, filter it, apply it—to become the best writer I can become.
C+B: Which creator (present day or in the past) do you most admire and why? What draws you to their work?
DJ: Currently, I'm really into the paintings of Chaïm Soutine! Man, if you haven't checked out his work, I recommend giving it all a look. Soutine's work is so original, and it possesses this palpable, strange energy that blisters right off of the canvas. I admire the originality in his work, and how he painted whatever what he wanted to paint. He even did a few still lifes of dead ray fish. They're bizarre and beautiful and gosh I love them. I find so much inspiration in people who do things their own way. Soutine left our world a long time ago, but his innovative spirit is something I really appreciate.
Find and support Dylan here:
Dylan James
My ideal creative retreat would be: My ideal creative retreat: a remote cabin, snow falling outside, and candles spread about the cabin dimly lighting the place up as the darkness of the night is thick. Generally anywhere cold and dark...hahaha!
One word that describes my most recent work is: Snowballing!
A quote that inspires me is: "No longer shall I paint interiors with men reading and women knitting. I will paint living people who breathe and feel and suffer and love.” My favorite painter, Edvard Munch, said this. I admire Munch so much because he strived to capture the soul of people in his work, by expressing emotion both uplifting and dark. In so many ways, artists are actively pursuing connection with their viewers or readers or listeners. Munch did this as good as anyone ever has in my humble opinion.
My hope for those viewing my work: I hope my readers take away positivity, even through the darker subject matter in my work. If my readers can do this, I feel like a million bucks.
Issue 6 Artist Spotlight | Kamryn Shawron
C+B: Tell us about yourself, Kamryn!
KS: Currently I am a full time freelance artist but only because things kind of shook out that way. I had given it a try a few years ago and now I find myself back in this role after the little boy I nannied for began school full time. Making is something that has always been a part of my life, but it's something I really refocused on post-pandemic. Being furloughed for months from my full time job gave me the time to re-enter the art world at my own leisure post-graduation. I found myself so grateful for the time I was creating like a mad man - fearful I'd not have that kind of free time again.
C+B: How has your relationship with your work changed since you first started creating?
KS: It's really evolved like any relationship, the mediums used, themes approached. I feel like lately I'm really finding my footing in my medium of choice (bead embroidery), and I love continuing to explore that with any and all of the kooky ideas that come to mind.
C+B: What has your experience been like receiving feedback or criticism of your work?
KS: I don't think I've received a real critique since college! But honestly I love asking my partner what he thinks of a piece or what should be different. That outside perspective is crucial when being so close to a project/theme.
C+B: Which creator (present day or in the past) do you most admire and why? What draws you to their work?
KS: There are so many! When I get tired of my own work I look for inspiration in others. I adore the work of Laura Shull and Jessica Locklar, their work should be friends I think! Very soft, feminine and dreamy. Just recently found Joanna Paige, and I think she's wonderful as well . Nathaniel Thompson is a tremendous photographer and excellent at capturing nostalgia. I think I'm drawn to the work of people that help me explore different facets of myself.
Find and support Kamryn here:
IG: @kamrynleelu
Website: kamrynshawron.com
(LG Try don't Cry, 60’’ x 60’’ x 2’’, mixed media, ©Kamryn Shawron)
My ideal creative retreat would be: A cabin immersed in nature, maybe close to running water of some sort. Quiet but not too remote and I just make and paint and bead into the wee hours of the morning. Undisturbed with the textures of the world around me to draw inspiration from.
One word that describes my most recent work is: HUGE
A quote that inspires me is: I can't find who exactly said it but it was something like, “How do you know when a work is finished? At some point you just stop.”
I think the closest equivalent might be this quote by Paul Gardner: "A painting is never finished - it just stops in interesting places."
My hope for those viewing my work: Ultimately, I always hope that even those who don't call themselves creative can immediately recognize the surface change and applied texture. Even if they don't recognize the technique or materials. But really I love hearing all the different feelings and emotions my work evokes. The connections people make to it based on their own experiences. Art is personal and I like for mine to be open to interpretation.
Issue 6 Artist Spotlight | Seth Ellison
C+B: Tell us about yourself, Seth!
SE: Since completing my MFA in 2012, I essentially disappeared from the scene for roughly a decade. Some have coined it as the '10 years of silence' — a period during which I withdrew into seclusion to discover what my art was all about. During that period, I married, became a father, and stumbled into professional writing, which remarkably enriched my artistic journey by enabling me to work from home and remain in close proximity to my studio. While in school, I crafted trendy minimalist light sculptures. However, it was during my post-graduation extended period of seclusion that I unearthed a deep affection for painting and my native West Virginia, which now serves as a wellspring of inspiration for my art.
C+B: How has your relationship with your work changed since you first started creating?
SE: It never stops changing. Painting is the best game I've ever played, and this is partially because of the near-infinite amount of moves that can be made in between a square. In an instant, everything can unravel, or it can be elevated in beauty and meaning.
C+B: What has your experience been like receiving feedback or criticism of your work?
SE: Some galleries have shown reservations when it comes to certain socio-political symbolism in my work. This may be due to the negative connotations associated with the South's history – which is somewhat understandable. One gallery even went as far as to say, 'We don't need another Dana Schutz moment.' However, it's crucial to understand that the messaging in my work stems from my own lived experiences. Over time, I've grown more acutely aware of the profound impact that specific symbols can carry and how their mere depiction is sufficient to allude to the troubled history of a place's past transgressions.
With that said, I welcome a range of opinions, both positive and negative. Just as you wouldn't have the desire to jump into a pool or engage in a snowball fight if the temperature remained a constant 72 degrees, criticism is a vital aspect of artistic growth, and it should be received with grace. It's important, however, to keep in mind that art, by its very nature, is subjective. I've received numerous pieces of advice regarding what I 'should' do, but I view this feedback as an exploration of what I 'could' do. Ultimately, the decisions made in your studio are your own, and you hold the roles of judge, jury, and executioner.
C+B: Which creator (present day or in the past) do you most admire and why? What draws you to their work?
SE: While my artistic style differs significantly from his, I've always held a profound admiration for Cy Twombly. In fact, '50 Days at Iliam,' which is housed at the Philadelphia Museum of Art, stands out as perhaps my favorite series of his work. The shapes and forms within his paintings seem to operate on their own unique plane of physics. A green blob can effortlessly shift between states of liquid, solid, gas, and the metaphysical. Twombly undertook a formidable challenge in making the inexplicable his subject, and even today, his works continue to provoke immediate controversy with their seemingly audacious nature.
Find and support Seth here:
IG: @sethellison101
Website: sethellison.com
(Summoning of the Bee Keepers, 74’’ x 56’’, oil on canvas, ©Seth Ellison)
My ideal creative retreat would be: A large, empty, secluded warehouse-sized underground bunker with great lighting and supplies delivered daily. Oh, and a foldout chair.
One word that describes my most recent work is: Delirious
A quote that inspires me is: Philip Guston once said, "When you're in the studio painting, there are a lot of people in there with you - your teachers, friends, painters from history, critics... and one by one if you're really painting, they walk out. And if you're really painting YOU walk out."
Honestly, every time I read that quote my heart drops because it lays bare a deeply hidden truth about being an artist. It gives the game away and it's shocking for me to see it, akin to God exposing his face. Only Guston, a man who mixed his blood with titanium white, who wasn’t afraid to journey to the edge, could come back with that.
My hope for those viewing my work: I hope that people take away a piece of me and it becomes a part of them.
Issue 6 Artist Spotlight | Nina Seidel
C+B: Tell us about yourself, Nina!
NS: Besides my work as a visual artist, I run an art magazine for emerging artists, Suboart Magazine. I founded it in December 2020 and it’s available in print and online. It’s both my day job and a passion project, especially the print edition. I’ve always had such a big love for paper and do think it’s important to keep print alive in our digital world.
As for what inspires me, the short answer is women. I grew up as the youngest in my family and have been surrounded by strong, independent, elder women who have been a role model for me since my childhood days. When I feel rather hopeless with the world, it’s also women I turn to. I love Toni Morrison and Zadie Smith and listen to interviews with them whenever I need a breath of fresh air and inspiration. The longer answer to what inspires me is light, colours, a sunny day, art, nature, the sea. A book you can just get lost in.
In my pastime, I practice Ashtanga Yoga, go to the beach if the weather allows it, or have a drink with friends. I love Martini, ramen and ice cream. Most of the time, I’m creating something, though. It’s my work now but has been my pastime forever, and that will most likely never change, independently of how my career as an artist evolves.
Something people may not know about me is what a messy person I am and what a professional procrastinator. It can literally take me weeks or even months to make a doctor’s appointment or to go to the shop to buy green paint.
C+B: How has your relationship with your work changed since you first started creating?
NS: It’s funny that you ask because I’ve been thinking about this recently. My relationship with my work has changed, of course, like everything changes when you’re 33 and not 10 anymore. But then again, not so much, and I somehow really like that. I started out creating things with paper when I was a child and afterwards, as a teenager, went on to paint abstract canvases with plain, vibrant colours. During university and the years following, I explored different techniques and themes, and even though I really enjoyed that, I’m sort of back to where I started from.
Things that did change is that I can judge my own work more quickly now and usually know, and am not afraid to admit, when a piece is just not as good as I wish it would be. At university I also learned the importance of a conceptual foundation rather than just explaining a work with “that’s my art, that’s just what I’m doing.” But apart from that, my relationship is the same to when I was a child and teenager. My works have always surrounded me and are somewhat an extension of myself. I’ve never treated them like something special, a bit like you would never treat your hand or feet like something special.
C+B: What has your experience been like receiving feedback or criticism of your work?
NS: My experience with receiving feedback and criticism has been good so far. I loved hearing my peers’ opinions at university and always enjoyed speaking about everybody’s work. I think that especially when you work on something for a long time, another person’s opinion can really be a breath of fresh air and make you see things you’re not able to notice yourself.
C+B: Which creator (present day or in the past) do you most admire and why? What draws you to their work?
NS: That is a very hard question that I don't think I'm able to answer. I tend to like almost everything but hardly anything ever blows my mind. However, when I read the question, the first person that came to my mind was Louise Nevelson. I’m not sure what draws me to her work but I guess that’s part of the magic, that you can’t really name it.
Find and support Nina here:
IG: @n.i.n.a.s.e.i.d.e.l
Website: ninaseidel.art
(Memories Dissolving I, 21cm x 29.7cm, mixed media on Garzapapel with natural edges, ©Nina Seidel)
My ideal creative retreat would be: Now that is a very interesting question that I’ve absolutely never thought about, so thanks for asking! My ideal creative retreat takes place at a spacious house next to the beach, in a country that knows no winter. I would love to share that house with, let’s say, 4 other people, and while each of us have our own space to create and sleep, we come together frequently to speak about our works. My ideal creative retreat also hosts an in-house cook that prepares delicious food, because I’m really not a big fan of cooking but hungry many times a day. The beach, the house, the village are quiet and allow us to sit with ourselves and our work. No internet and smartphones are not allowed, but stamps and paper everywhere, paints, woods, fabrics, clay, and a linocut printing press. A radio to listen to the local radio stations and gorgeous flowers everywhere.
One word that describes my most recent work is: Memory
A quote that inspires me is: “Humans, not places, make memories,” by Ama Ata Aidoo. It’s a quote I came across a few weeks ago, and I feel that it really relates to my most recent work, which is all about memories and remembering people. To be honest, I didn’t know Ama Ata Aidoo before finding that quote, but I look forward to reading some of her books in the future and get to know more about her life.
My hope for those viewing my work: If I could wish for one thing, it’s the understanding that as humans we are all a lot more alike than we are not. What matters to me is probably very similar to what matters to you. Health, friendship, family, love, a peaceful space to thrive in, justice for ourselves and for our loved ones. Being appreciated for who you are, getting somewhere with whatever you’re doing and not being stuck at one place.
It's true that our backgrounds and experiences are ours only. But the feelings that they evoke in us are the same in almost all of us. My works speak about these feelings. They are stories of love and loss, of dreams and memories, of grief, hope, anger. Of feelings and emotions that we collectively share as human beings and which have the power to connect us, if we let them to.
Issue 6 Creator Spotlight | Nick Paradis
C+B: Tell us about yourself, Nick!
NP: Full time I run Production/Manage a Screen Printing Shop in downtown Concord, New Hampshire called Eastman Fine Screen Printing. I have worked in printing and bindery for over a decade on small to large scale machinery as well as custom hand-pressed/bound projects/operations. I enjoy diverse forms and methods of printing. In my spare time I paint with oils and mixed media, I enjoy creating murals and custom commission paintings for customers. I print in my studio as well with different styles and mediums. I submit work to open call exhibitions and attend community based receptions and events. I write poetry and prose freely on the side and attend open mics and submit my work for publication when the opportunity arises. I enjoy hiking, biking, and going to the ocean. I have a pet chameleon, her name is Socks.
C+B: How has your relationship with your work changed since you first started creating?
NP: As I've matured and experienced life so has my work. I think a huge part is the experiences and memories formed and shared amongst others throughout time. Adaptation. Innovation. Belief. The ups and downs.
I went to College, I studied art—but does that necessarily mean I went to school for art? There are so many other viable variables that contribute to my ideology of creating. Art is merely the vessel my life sails on. I wouldn't have art if not for the other basic life tendrils awaiting to grab my vessel and shake it up. As time has passed and you've collected multiple rooms of art supplies and knowledge, conversations, culture, museum visits, lectures and raw emotions- That creates a lot of change subconsciously whether seen or not. The mirror is yourself. Art is the eyes.
C+B: What has your experience been like receiving feedback or criticism of your work?
NP: I enjoy feedback and criticism. I actually get very excited when I am inching closer to seeing something I wasn't able to see- or because it was of a different subjective perspective. Or if someone recommends using phthalo blue vs ultra marine blue and you can see the result without actually mixing the paint or applying it- that's the magic of feedback. It helps build your work and process, but the criticism needs to be constructive with the same end goal in mind. I don't like words like good and bad, they have destroyed most of our greater perspectives towards creativity.
C+B: Which creator (present day or in the past) do you most admire and why? What draws you to their work?
NP: I love and despise this question. I don't think its fair for me to have a favorite or hold a place for admiration. I choose to be as diverse as possible. But if I must, I really enjoy album cover art, because of its diversity.
Find and support Nick here:
IG: @paradisart
(Shadows and Dust, mixed media, ©Nick Paradis)
My ideal creative retreat would be: South Pacific. I don't know if I have an 'ideal' creative retreat. I just need the tools to create. I usually forget about the walls surrounding me when I'm creating so the South Pacific on a beach sounds pleasant, and I like the color green the most, so I'd like to be surrounded by that.
One word that describes my most recent work is: Shine
A quote that inspires me is: “Talent is the ability to let ideas
manifest themselves through you”- Rick Rubin, from his recent book 'A Creative Act: A Way of Being.'
I chose this because I've been looking at art more as a lifeform and vessel rather than a pencil smudge or clay on the wheel. I believe creativity and psychology go hand in hand, and at times it may be hard to see yourself as an artist or creative- and when you bring that down to the metaphysical level its not an understanding, its more of a way of life.
My hope for those viewing my work: Diversity in multiple mediums. Well versed.
I never wanted to do just one thing, like paint lighthouses or just portraits. I didn't want to only read Kerouac or Hemmingway. So I read other things. I like 90's Seattle Grunge...and Jazz, funk, R&B, and Metal. I like theatre and ballet, and also fast paced adrenaline activities.
My point is,
I want the audience to see the boiling pot of all the diversity. All that's out there.
Oil or watercolor? Why not both?
So I believe I vicariously am doing what I see in front of me on that larger scale, and I hope others can see the girth of it as well. I wanted to create art that would touch millions- not just one type of person, like a bird watching enthusiast that bought my paintings of doves and canaries. Or the sacred geometry nerd that loves my cubism. I wanted to be able to offer something to everyone, so I try to cater to being as versatile as I can.
Issue 6 Artist Spotlight | Ruth LaGue
C+B: Tell us about yourself, Ruth!
RL: I am a user experience designer by day. I try and solve meaningful and relevant problems for users while they are using an online product. That’s a long winded way of saying, I’m always analyzing how a process can be simplified, so there’s no barrier for a user to understand what their next best action is. And any other time of the early mornings, evenings and weekends, you will find me in my studio.
C+B: How has your relationship with your work changed since you first started creating?
RL: Creating has always been a personal journey for me; in design I work to solve problems, and that had a lot of meaning to me in the beginning, but I found through the years I needed to explore my own voice and took up painting. First in encaustics then acrylics, my subject was abstracted landscapes, and that too had a lot of meaning to me in the beginning. When COVID hit and everything shut down, I began exploring the details within the landscape, animals, barns, houses, etc., and that became a refreshing new challenge for me. I got in touch with my love of simple shapes, and applied color to them.
Lately, that simplification has me concentrating around a central theme — barn as cathedral. Barns hold a presence on the landscape, they are connected to the earth and to us. They serve a function greater than the contents within them — they protect.
C+B: What has your experience been like receiving feedback or criticism of your work?
RL: I enjoy critiques when I feel people get what I’m doing and can steer me to see something in a different way. I’ve had two amazing teachers recently who in different ways have seen my work and been like laser beams to help me not paint everything I see, leaving a bit open for interpretation.
C+B: Which creator (present day or in the past) do you most admire and why? What draws you to their work?
RL: I love Fairfield Porter — I admire his loose energetic style and how he bridged the gap between realism and abstraction. I also love that he painted scenes that were around him.
Find and support Ruth here:
IG: @ruthlague
Website: ruthlaguestudio.com
(Field of Gold, 12’’ x 12’’, acrylic, ©Ruth LaGue)
My ideal creative retreat would be: A small modern cabin with lots of sunlight — someplace I hear (and feed) the birds. A place that has two comfy chairs for my two Havanese dogs (Rikki and Owen) and a short path to my home, so I can touch base with my family.
One word that describes my most recent work is: Simplicity
A quote that inspires me is: “You must do the thing you think you cannot do” by Eleanor Roosevelt. She was a voice for those who didn’t have one and she pushed forward with courage.
My hope for those viewing my work: I hope people will have a renewed sense of their surroundings; expand their partnership with the earth and it’s greatness and maybe on occasion, visit one of the people’s cathedrals, a barn, with new eyes.